The most general definition of contemporary art is that it is art from the beginning of World War II until nowadays. However, this determination describes only chronological boarders, without any hint on a true sense. Historians define these years as "turning point in consciousness" and "time of change in artistic paradigms". These phenomenons are derivative from the present (present reality) and should be examined in social and cultural aspects.  

The thundershower of information forms a pied kaleidoscope, and sometimes leads to a dead-end with its aesthetical permissiveness, an ability of undistinguished eclectics, and an absence of criteria. A modern conception about the reality is overcrowded with ideas and subjective dialogues, which are quite common for the "knowledge accumulation" epoch. Postmodern "irresponsibility" in the capitalist market environment and pluralism of civil society feed up a critical type of thinking as the most appropriate concerning occurred processes. However, a critical thought does not disconsider the permanent system, but only defines it more precisely, without being radical. It appeals to an easy for understanding patterns, and in social and cultural aspect may come out as a thought-out promotion. 

The art is an antibiotic and antidepressant from the agony of globalization society. Its own prospects should be examined in ontological context. 

Is it worth questions? A Present. A Modern. A Contemporary. We are in this metaphysical abstraction right now. For illustration of sense, we have better take a performance by Tino Segal on the last Vein biennale, where in German pavilion for every passing-by viewer were singed "Contemporary, contemporary, contemporary! We are so contemporary!"

Both humanitarian and aesthetic art concepts differ in views on contemporary art scene and fell the shortage of descriptive models. A great variety of artistic communities and organizations, trends and concepts, rise up as a reply for global request for the new art-production. An interpretation is used to dismantle a withstand system in the form of historical criticism and "language deconstruction". For example, a postmodernist philosopher Jean-Francis Lyotard, while developing his idea of "intertextuality", legalizes science conclusions only when they destruct previous theses and concepts, and generate new. In this way, he orients knowledge to search for differences, instabilities, and chances.

Unimaginable discoveries in biochemistry, neuropsychology and physics are fundamental for implementation of a new mindset, an indistinct logic, and an intellectual intuition. Nevertheless, they still left with no wide support, and are kept inside the paradigms of classical science and language.  

However, are there any chances to discover truth in globalize society with media propaganda and responsibility denial? An artistic gesture, instead of indulgence in sins excusal- is a project of 9/11 memorial by architect Libeskind in USA, where the idea of "freedom as a main value of civil society is at the centre of manipulations, and justifies an American intruding to Iraq and Afghanistan (O.Kopeikina "The memorial trial") 

A fauna in formalin by Herst is our present, as well as genetic experiments by Chapman brothers, with their significant "idea of cloning as a main pattern in bio-political culture of global capitalism" (Teimur Daimi, "Art Journal")

A cultural tradition and valid justification generates an expected sequel, infinitely extending "what is art" category. There is a capitulation in the face of reality, which is not set by that Concealed Being (an Istigkeit), but a "producing for the sake of producing" within the global approach. An art, a language, and culture have not been breaking bounds (a transgression) for a long time.

The end of a history is predicted by some philosophers by the disappearance of countries with totalitarian regime, and by democracy triumph. A dialog between cultures turns a man (an artist) into prisoner of total sociality. As Mikhail Riklin noticed, "There are might be no exit from a nowadays dead-end with the help of art"

Is it possible to extend a modern thought in search of new, grandiose and universal philosophy of art? In fact, all values of art are equal to other spheres, and are common for all humanity. "Beyond the facade of slogans and endless internet discussions, human life is passing... to start acting and living we still need ideas. However, the most important thing for everybody is relations of love and friendship inside a group of people, inside the other groups, and inside the humanity. This is a real art gesture" (Momonov, "Art Journal"). Obviously, there are common periods in cycles of human culture - it is a Hellenistic decay of Greek Antiquity, a mannerism that ended time of Renaissance, and a Decadence of the culture of new times. Also called, a periods of disappointment of culture in herself. Probably, postmodernism could also be named as a "new mannerism'. However, it is a mistake to consider that modern mindset is a chaotic temporary situation. Moreover, it is a variety of impressions from modern reality, a sharp prediction of the future, and proper actions in social and cultural field. They determine nature of interaction of different reality aspects, and are able to find the ways of overcoming the ontological crisis. 

A contemporary Ukraine (if we localize a look) is divided by two epochs: a soviet academic manner and western postmodernism. A contemporary art is a gesture that almost has raised up. 

No matter, that certain periods of world history had passed by ex-soviet countries, and some are just outlined, it is time to define our own mythological transformation. It means nothing, except a play on home turf. Indeed, the philosophy of artist's Will is deep-rooted in his own history and culture. It lets both, the culture and concrete man, to learn to be "right here, right now", and to point a cognition from the outside to inside.

Maria Gaiduk